Utwory na płycie:

• Fantasia Cromatica, BWV 903 (Bearb. Von Zoltan Kodaly)
• Suite für Viola solo g-moll, Op. 131d No. 1 - 1. Molto sostenuto
• Suite für Viola solo g-moll, Op. 131d No. 1 - 2. Vivace
• Suite für Viola solo g-moll, Op. 131d No. 1 - 3. Andante sostenuto
• Suite für Viola solo g-moll, Op. 131d No. 1 - 4. Molto vivace
• Suite für Viola solo D-Dur, Op. 131d No. 2 - 1. Con moto
• Suite für Viola solo D-Dur, Op. 131d No. 2 - 2. Andante
• Suite für Viola solo D-Dur, Op. 131d No. 2 - 3. Allegretto
• Suite für Viola solo D-Dur, Op. 131d No. 2 - 4. Vivace
• Suite für Viola solo e-moll, Op. 131d No. 3 - 1. Moderato
• Suite für Viola solo e-moll, Op. 131d No. 3 - 2. Vivace
• Suite für Viola solo e-moll, Op. 131d No. 3 - 3. Adagio
• Suite für Viola solo e-moll, Op. 131d No. 3 - 4. Allegro vivace
• Passacaglia aus den Rosenkranz Sonaten
• Suite - 1. Prelude - Fantasia
• Suite - 2. Sardana (Danza)
• Suite - 3. Intermezzo e danza finale
• Sonate für Violine solo e-moll, Op. 27 No. 4 - 1. Allemanda. Lento maestoso
• Sonate für Violine solo e-moll, Op. 27 No. 4 - 2. Sarabande. Quasi lento
• Sonate für Violine solo e-moll, Op. 27 No. 4 - 3. Finale: Presto ma non troppo

Johann Sebastian Bach:
Fantasia Cromatica, BWV 903 (arr. Zoltan Kodaly)

Max Reger:
3 Suiten für Viola solo, Op. 131d

Heinrich Ignaz Franz Biber:
Passacaglia aus den Rosenkranz Sonaten

Gaspar Cassado:
Suite

Eugene Ysaye:
Solo Sonate No. 4, Op. 27

“The instrument’s position, between the violin and the cello, offers us violists many opportunities to combine elements from both soundscapes and thereby to create something independent and new. This CD features a number of transcriptions – not derived from a desire to take something from someone else, but because I am absolutely convinced that good music can be played in a variety of ways as long as we remain true to the spirit in which the work was originally composed. Works by both Eugene-Auguste Ysaye and Gaspar Cassadó appear on this CD, played for the first time on the viola. Ysaye has long fascinated me, and after featuring this work in a number of my concerts, it seemed perfectly natural to record his 4th Sonata. It was my former student Martin Moriarty who suggested the possibility of playing Cassadó on the viola, when he turned up for a lesson one day with the score of this cello suite. I was enthusiastic from the word go because the suite sounds so good on the viola and I hope that the enthusiasm we felt during the recording session is palpable. Thank you, Martin, for this great idea!”

Veit Hertenstein

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Recording: Immanuelskirche Wuppertal, 05-07 July 2021. Veit Hertenstein plays a viola of Pietro Giovanni Mantegazza, 1767.